John Doe

If you want to make your dreams come true, the first thing you have to do is wake up.

Mary Taylor

You can have anything you want if you are willing to give up everything you have.

The Ludwig case could become a movie

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Matteo Mercanti with Fabio Testi during the filming of a recent short film

Matteo Mercanti with Fabio Testi during the filming of a recent short film

Matteo Mercanti with Fabio Testi during the filming of a recent short film

Matteo Mercanti with Fabio Testi during the filming of a recent short film

Writes text to a file Ludwig case It won second place in the feature film competition of the 20th edition of the Rome Independent Film Festival. Matteo Mercanti, from Verona, Fifty-One Years Old and Independently Employed, was freely inspired by this complex story which appears to have been written only by two Veroneses who were arrested on March 4, 1984 in a criminal act while attempting to cause a fire in the Mellamara nightclub. Nightlife in Castiglione del Stevier. But in this case, there are those who spoke of possible help from a third man, who were never found. Suspicions are also reported in the text: “Ludwig appears to be the executing hand of several conductors, for an orchestra perhaps not known to even the Veronese boys at all.”

The period of murders perpetrated in northeastern Italy, Germany and the Netherlands – and inspired by the radical fanaticism of neo-Nazis, hence the signature”LudwigFor those crimes – it began in August 1977 and will end seven years later with 28 suspected deaths and 39 injuries. The sure victims will be 10: stabbed, hammered, accepted and charred. Mercanti has a past as a journalist and for the script of the movie “Bitter Apple” (which was the title chosen for the competition) he chose to develop over several timelines without making judgments of any political, social or partisan nature. “I am a script designed for a cinematic producer with the intention of getting us to think about how some of the current themes might continue. I have been interested in the subject since I was a boy and wanted to investigate and study it.”

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The narrative style is typical of investigative journalism and the protagonist is the young writer, Monica, who lives with her teenage niece and orphan Katrina, in love with a fellow who meets and frequents a group of young men who seem to sympathize with the new. neo-Nazi parties. What happened is told in the present and it is left to the protagonist to speak out in an educational process that condemns extremism and violence. However, the strong reference to the alleged memory of facts by the name of Ludwig so as not to fail the interest. “We need to talk about it so we don’t forget,” Mercante says. “In order not to give strength to those who, on the contrary, in silence make them their own and live them. These are current issues and are not yet destined to be forgotten.”

Mario GuidoreziThe professor of film history and screenplay analysis at the University of Verona wrote: “The script finds strength in its well-studied chronological composition, that is, in reconstructing those tragic events through perspectives from the present and the near and far past.” It will be precisely the analysis of the passage of time that will absorb Monica in the search to engage her and will be in the confrontation with her young niece who will try to convey the principles and values ​​of life that are the basis of respect and responsibility towards everyone, far from violence. The writer’s difficulties will increase with the realization of what has happened and the tragic events will turn out to be part of that incomplete picture of the story, perhaps never complete.

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The publisher who commissioned Monica to research a text that will put her to the test in a tangled jumble of past and present. “He will find himself operating in a climate of conspiracy,” Mercanti adds. “She will also come to find herself in front of one of the boys, the protagonist of the many murders, and it will be face to face who will lead her to wipe out her ghosts and complete the book.”
Mercanti received requests to read the script from Veronese directors Gianluca Magnoni and Alberto Rizzi and the interest of producers Alessandro Verdichi and Claudio Pucci.

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